“Quigley blended the orchestral and choral forces skillfully. His moderate tempo in the great opening chorus allowed the music to work its deeply moving spell…The many reflective chorales that provide commentary on the story benefited from Quigley’s supple play of dynamics and natural pacing….shaped with unhurried breadth by Quigley and displaying the entire ensemble’s beautifully […]
“Haydn was the headliner for their February 7–11 “Harmonic Convergence” series of concerts, and the Philharmonia Baroque Orchestra made sure he lived up to the billing. In giving their all to two substantial works — the Cello Concerto No. 2, with an intense Steven Isserlis as soloist, and the (mostly) absorbing Symphony No.43 (“Mercury”) — […]
“This summer Caramoor will present operas from earlier periods. A concert performances of Handel’s “Atalanta” will feature Nicholas McGegan conducting the Philharmonia Baroque Orchestra of San Francisco.” — Read more at The New York Times. Photo: Gregg Vigliotti for The New York Times
Mainly behind the success was the grace of the music itself under visiting conductor Jory Vinikour. His fingers flew precise instructions simultaneously to baroque instruments and singers alike. And the sense of repetition built into baroque vocal passages was nicely varied and reconstructed. — Read more at Urban Milwaukee.
“Late last year the Houston Symphony earned its first ever Grammy Award nomination for best opera recording with “Berg: Wozzeck.” Surprising almost everyone involved, the recording won the Grammy Sunday evening in New York….The Grammy was preceded by another huge honor for the symphony; it received the prestigious ECHO Klassik award last fall in Germany.” […]
“Meticulous performance paired with thoughtful, narrative programming to lend a sense of theatre – spellbinding, immersive” — Read more at Schmopera.
“It was a treat to have Canada’s European-based Michael Schade in the tenor role. Overall, the tenor has the most to sing and also has the most expressive music. Vocally, Schade was in his natural element here, his focused tenor voice and thorough understanding of German oratorio style evident at every turn. The final duet […]
“Mr. Rose led the orchestra through the aggressive opening gestures with ferocity, juxtaposing the more lyrical wind solos and microtonal melodic fragments with an ear for contrast.” — Read more at Pittsburgh Post-Gazette.